The Terminal Destructive Fuzz Device is the newest and nastiest fuzz from Akron, Ohio dirt merchants EarthQuaker Devices. And it is ever filthy. Based on a heavily modified JAX design, EQD’s entry into the world of gated, voltage-starved, blown-out, zipper-and-velcro fuzzboxes brings a level of sonic precision and reliability to a segment of the fuzzscape typically dominated by temperamental and complicated pedals in hand-painted enclosures.
The Terminal is EQD’s most attractive pedal yet. Housed in a flat black enclosure, proudly sporting the silhouette of downtown Cleveland’s Terminal Tower, and topped off with handsome Fender-inspired chrome skirted knobs, this pedal catches both the eye and the ear. Controls for Voice, Treble, Level, and Fuzz are clearly marked and easy to use, and true-bypass switching ensures that your tone is awesome, even when the Terminal is turned off.
Playing the Terminal with a P-90 equipped Les Paul into a Traynor YBA-1, lower Fuzz settings (below 10 o’clock) yield a spitty, Nuggets–approved rhythm sound that’s perfect for chuggin’ (or better yet, chooglin’) on some chords, and lends even lame-o cowboy chords some extra weight and a little harmonic energy in the upper register. Turn the Fuzz above 10 o’clock, however, and the Terminal’s true destructive tendencies are revealed.
The Voice and Treble controls really come into their own at higher Fuzz settings, allowing the user to adjust the mid-shift (Voice) and top end (Treble) to create a variety of tones. It’s all there, from nasal, fixed-wah lead sounds, to wild and unhinged, Raw Power-era Stooges raunch, all the way to super saturated Siamese Dream-in-a-box riffing.
The Voice and Gain controls seem especially interactive with regards to controlling notes’ attack. Using moderate Gain settings, turning the Voice control counterclockwise gives the Terminal a “pushed” feel, as notes slowly blossom with each pick attack. Turning the Voice control clockwise gives a sharper sound with a quicker attack and a tighter, more focused low end response. My approach to the Terminal is to dial in a moderately fuzzy sound, adjust the Voice and Treble knobs for the desired voicing and attack envelope, then adjust the Level and Gain to taste.
Perhaps the most impressive thing about the Terminal, though, is its pick sensitivity and dynamic range. Pick softly, and it cleans up incredibly well. Roll back your guitar’s volume, and it’s like a whole other pedal. Dig in hard, and the Terminal digs back.
Submitted by Aaron Rogers, (website)
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